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Prepared according to the Vocalization, Accents, and Masora of Aaron ben Moses ben Asher in the Leningrad Codex, with Adaptations to Halakhic Requirements
The most accurate edition of the Leningrad Codex in print, the Biblia Hebraica Leningradensia presents a thoroughly revised, reset, and redesigned edition of the Hebrew Bible meticulously prepared by renowned masoretic scholar Aron Dotan. The BHL includes features that suit it for research, classroom, and liturgical use. Scholars will find this a welcome edition of the Leningrad Codex, the oldest complete manuscript of the Hebrew Bible, whose text and layout it precisely follows. A foreword and four appendices provide the researcher with important details and distinctions about the codex. In addition to being a scientific edition, it was originally commissioned in Israel to follow the necessary adaptations that qualify it for Jewish liturgical use, such as divisions into weekly portions and their subdivisions for synagogue reading.
In: Textus
In: Textus
In: Congress Volume Ljubljana 2007
In: Domestic Devotions in the Early Modern World

Distribution of the common sea urchins inhabiting coral reefs in the Gulf of Elat was studied quantitatively during 1979–1981. Densities of most populations conformed to a regular pattern, determined mainly by exposure to different levels of water movement, and varied little over time. Heterocentrotus mammillatus inhabited reefs exposed to strong wave action, whereas Diadema setosum was confined to sheltered habitats. Echinometra mathaei was the most abundant species on shallow reefs, and was rare in places deeper than a few metres. The distribution of Tripneustes grattila was irregular and its populations varied greatly over time. Translocation experiments indicated that Diadema setosum survived well in protected habitats, but avoided areas of strong water movement. Heterocentrotus mammillatus, on the other hand, settled poorly in sheltered habitats and survived better on exposed fore-reefs.

In: Israel Journal of Ecology and Evolution
In: Zutot

The hunter, the gardener, the messenger, the shadow, the inspector, the guardian angel and the photographer – all were invited into my home to shoot me. Each one of them, a meaningful role player in my life, took my photo the way it perceived me, as if each one of them actually existed and was able to see and commemorate me. The role I played in the context of my own home, the size of my image against the background, and the way the light fell upon me and tinted the objects around me – were all chosen by those guest photographers as they took my pictures. Each one of them symbolized the contents, boundaries and interactions forged by the mutual relationship between them and me. Later on, I placed one of my own photos alongside the images captured by the guest photographers, as an exchange. It is a close-up photo representing the relationship between two objects I had chosen – both of them exist in my home, and always stay with me. The relationship between those two objects is a sort of translation or interpretation of the "real" interaction between the welcome guest, who freely entered the interior of the house, and me, its regular tenant, who willingly surrendered to be photographed with it. The text that accompanies these photos is written in the past tense. Everything that transpired between me and my guests, all that happened during the brief encounter between the two of us – is now over and gone. Role players, relationships, description of events, visible layers, and also layers of expression of restrained emotions – are now memories only. Artifacts. The works are organized as a collection of three parts printed together: image + image + text. My photographer shot me and indeed saw it all.

In: Deception: An Interdisciplinary Exploration